Art History Curatorial
Studies: What’s in a Jug
February 9–April 8, 2018
Oscar F. and Louise Greiner Mayer
Gallery
For this exhibition, students enrolled in
Introduction to Museum Studies: Theory
& Methods examine molded Victorian
Victorian molded jugs are the focus of the Art History
jugs, vessels that were some of the
Curatorial Studies exhibition. Photo Eric Baillies.
most-popular and ubiquitous forms of
the mid-nineteenth century. These objects cross areas of study including Victorian art
and design, ornament drawn from popular culture, and improving technologies of molding.
Drawn to Art: Celebrating the Waisman Center's
Harvey A. Stevens International Collection of
Art by People with Developmental Disabilities
May 11–July 15, 2018 | Pleasant T. Rowland Gallery
With more than 220 works by artists from 15 countries, the Harvey A. Stevens
International Collection of Art by People with Developmental Disabilities is
intended to, among other goals, encourage people with disabilities to express
themselves and expand their world through art. To celebrate the launch of
Drawn to Art, a book about the collection, the Chazen hosts an exhibition
featuring a selection of works from the collection. The Friends of the
Waisman Center at UW–Madison sponsor the collection.
Watanabe: Japanese
Print Envoy
Derrière: Works by Michele Marti
The Paula and Russell Panczenko MFA Prize
June 1–September 2, 2018
Leslie and Johanna Garfield Galleries
April 20–July 8, 2018
Oscar F. and Louise Greiner Mayer Gallery
The 2018 Chazen Museum Prize has been awarded to Michele Mart i.
Marti’s upholstered furniture with mono-printed surfaces shows the
interaction between the body and object, as she thinks about the body,
vulnerability, control, and how we present the self. Bodies smash and
squish in and onto the surfaces on which they rest—of this we have
no control. But everyone has a body, and every body is unique, just
like fingerprints. Marti is interested in the depository of memory and
the traces we leave behind, all the while creating an intimate moment
between the viewer and the work.
Emily Zilber, the Ronald L. and Anita C. Wornick Curator of
Contemporary Decorative Arts at the Museum of Fine Arts, Boston,
was the juror for this year’s prize.
RIGHT (TOP AND BOTTOM): Michele Marti (American, b. 1986), Untitled, 2017, lithograph, 22 x 30 in.
Natori Shunsen (Japanese, 1886–1960),
Ichikawa Sadanji II as Marubashi Chuya,
from the series Supplement to the
Collection of Shunsen Portraits, 1931,
color woodcut, 14 ¾ x 10 in., bequest
of John H. Van Vleck, 1980.2955
In the early twentieth century, Shozaburo
Watanabe started his publishing business,
hiring a new generation of artists and
craftsmen to create Japanese prints in
the time-honored tradition of Hokusai and
Hiroshige. To identify his prints Watanabe
coined the term “shin hanga” or “new prints.”
Like the prints of the previous century, they
were colorful images of Japan’s people and
natural beauty. However, Watanabe actively
courted the international market, touring his
prints in the United States, and making the
prints more appealing to foreign buyers by, for
instance, including the artist’s name and title
in roman letters. Combining Japanese and
western sensibilities, these prints established
their own aesthetic in the market.